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- Gustafsson, Tommy, 1969-
(författare)
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A Fight over Souls : Documentary Films on the Rwandan Genocide with a Christian Theme
- 2017
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Ingår i: Journal of Religion and Film. - Omaha : University of Nebraska Press. - 1092-1311. ; 21:2, s. 1-40
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Tidskriftsartikel (refereegranskat)abstract
- The 1994 genocide against the Tutsis in Rwanda have spawned over 150 feature films and feature-length documentaries, making it into the second most audio-visually recreated genocide after the Holocaust. Within this large body of historical films a subgenre have emerged with a distinctive Christian theme. This article explores these Christian themed documentary films about the Rwandan genocide and positions them within a film historical perspective as well as analyzes and contextualizes them as a subgenre of films about the Rwandan genocide within films about genocide in general. Of note are how memory and historiography are used, and the links between these films’ educational, religious, and commercial elements.
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- Gustafsson, Tommy, 1969-, et al.
(författare)
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Ecocinemas of Transnational China : Introduction
- 2012
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Ingår i: Interactions: Studies in Communication & Culture. - : Intellect Ltd.. - 1757-2681. ; 2:2, s. 85-90
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Tidskriftsartikel (refereegranskat)
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- Gustafsson, Tommy, 1969-, et al.
(författare)
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Editorial : Hollywood and the Norden
- 2011
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Ingår i: Film International. - London : Intellect LTD. - 1651-6826 .- 2040-3801. ; 9:2, s. 4-7
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract
- Nordic cinema is receiving increased prestige in academic studies as well as in the global marketplace. However, one area remains largely unexplored: the relationship between Hollywood and the Nordic cinemas. Our next issue is designed to unravel the typical binary paradigm consisting of hegemonic Hollywood and its European/Nordic counterparts. By emphasizing the heterogeneous and not-always compatible modes of interactions, the articles discuss encounters with Hollywood from a range of perspectives, such as the often critiqued tendency of Hollywood studios to adapt ‘difficult’ art house material for wider audiences; how diverse Nordic directors such as Danish Tomas Vinterberg and Finnish Renny Harlin have ventured into the Hollywood system; and the fact that cultural influences always go both ways, exemplified by analysis of films such as I am Curious Yellow (1967) and Dead Snow(2009), thereby undermining the indigenous basis for the concept of national cinemas.
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- Gustafsson, Tommy, 1969-
(författare)
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Filmen som historisk källa : Historiografi, pluralism och representativitet
- 2006
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Ingår i: Historisk Tidskrift. - Stockholm : Historiska föreningen. - 0345-469X .- 2002-4827. ; 126:3, s. 471-490
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Tidskriftsartikel (refereegranskat)abstract
- This article discusses why films have not been used more than they have as historical sources and argues that films ought to be used more by historians. Principally, historians can use film in three basic ways, all of which give access to information about the period when it was produced. First, films can with caution be used for information about the persons, objects and events depicted in documentary films. Historians’ preference for the written word has though largely excluded the use of motion pictures. Attempts to use documentaries as historical sources fell victim to the criterions of source criticism, which declared all films to be false because they are manipulated through use of cuts and voice-overs etc. Second, films can be used as a source for time-bound audiovisual configurations of historical events and historical individuals: Recently historical didactics have taken an interest in films due to the insight that audiovisual historical writing is dominates the dispersion of views of the past among the general population. The audiovisual writing of history thus becomes important because regardless of whether or not it is false it contributes to the formation of a historical consciousness among the public. Finally, films can be used as a source for time-bound conceptions concerning, for example, gender, class, race and age in feature and documentary films. Because films are produced for a mass audience, are made by many people, and are expensive to make, there arise the phenomenon of the films pluralism. This pluralism gives considerable weight to the value of motion pictures as historical source material. Since a film is a collective effort that has to reach as many people as possible in order to turn a profit, it has to keep very close to its own time preferences, which, in turn, makes the motion picture inclusive by nature. Furthermore, through motion picture’s close connection to realism, the human raw material – the actors – will function as representations of a range of different conceptions concerning gender, race and class, and its mutual relations. Obviously, there are also exceptions to this pluralism. For this reason, the scholar must learn to “read” the films in relation to both the social and medial context in order not to misinterpret them.
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- Gustafsson, Tommy, 1969-
(författare)
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I sekulariseringens skugga : Manlighet och religiös tematik i svensk och amerikansk 1920-talsfilm
- 2008
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Ingår i: Tidskrift för genusvetenskap. - Malmö : Malmö högskola, Studentcentrum. - 1654-5443 .- 2001-1377. ; :3-4, s. 91-113
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Tidskriftsartikel (refereegranskat)abstract
- There existed a great ambivalence concerning masculinity and its relationship to religion in the decades around the last turn of the century. The historical encoding process of religion, from gender neutral to feminine, have in general been interpreted as something solely negative for the constitution of masculinity during this period. Consequently, religious encoded masculinities have been deemed as deviations from the norm; as a negative feminisation. This assumption does not consider secularisation as an ongoing process, instead taking secularisation for granted when in fact Christianity and religiousness were still very much alive throughout Western societies. The focus for this article have been to examine images of Christ and Christ-like characters in Swedish and American films, and also how ordinary religious male characters were received, and what functions these images of religious manhood performed in these films, and society at large. The clear tendency was that a modern, more active masculinity was on its way to oust an older, more passive masculinity based on spiritual values – manifested, for example, in that films with clear religious themes were enacted in a distant past. However, the contemporary reception clearly shows that the images of these religious male characters were not feminised due to religion. Instead, spiritualised forms of masculinities functioned as a legitimate alternative alongside modern masculinity. This indicates that religion was not yet essentially encoded as ‘feminine’. Although some forms of masculine encoded emotions were controlled in the public, this did not at all include softer expressions of emotions that in earlier research have been explained as signs of femininity in relation to an ideal masculinity. Conversely, the predicament for spiritualised masculinities occurred when narratives included a woman (the love story), which unavoidably tilted the focus from the soul to the masculine body, thereby (hetero)sexualising the male character in a way that often worked as a feminisation.
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